More of the Music of Heart

• A Little Queen like you’ve never heard, with solid Double Plus (A++) grades or BETTER on both sides of this original Portrait pressing – fairly quiet vinyl too
• “Barracuda” and “Love Alive” are bar none two of Heart’s best songs and they are guaranteed to blow your mind on a copy with sound like this
• It’s the rare copy that has the energy, dynamics, deep bass, punchy drums and meaty guitars that you get on this pressing
• A Rock and Pop Top 100 album with Demo Disc sound on a very special pressing such as this – it will rock your world
• 4 1/2 stars: “After acquiring a substantial following with Dreamboat Annie, Heart solidified its niche in the hard rock and arena rock worlds with the equally impressive Little Queen.”

 

This is a Classic Rock Demo Disc to beat practically anything you could throw at it. “Love Alive” and “Barracuda” on this copy will deliver the full Rock and Roll Power your system is capable of. If you’ve got The Big Sound, this is the pressing that will truly show it off.

There are plenty of commentaries that discuss the sound of this recording and what it can really do when you get hold of a good pressing… and have the system that can play it… and turn up the volume good and loud. We proudly present here a copy with the kind of Big Sound that we think backs up every claim we make.

We’re huge Heart fans here at Better Records, and we’re not ashamed to say so. These ladies can really rock, and on the right pressing their music can and will sound absolutely amazing. Here’s a copy that will allow you to hear that magic at home — the sound is super punchy with incredible energy and wonderful clarity. You’ll have a very hard time finding another copy that rocks any harder than this one.

What The Best Sides Of Little Queen Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1977
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange — with all the instruments (and effects!) having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Wide and Tall

A key quality we look for in Hot Stamper copies of Little Queen is Wide and Tall Presentation. What exactly does that mean, you ask? The best copies, the ones that really jump out of the speakers, tend to present some (usually high frequency) information higher and more forward than others. This is not hard to miss.

When you’re playing ten or fifteen copies of the same side of the same album and suddenly a cymbal crashes higher and more clearly than all the others did in the part of the track you are testing, you can’t help but notice it. Wow! How did that get there? Once you hear it you start to listen for it, and sure enough the next copy won’t do it, nor will the next. Maybe the one after that one gets about halfway there, the cymbal crashes higher than normal but not as far as the one that really showed you how high was up.

If you’ve been making steady improvements to your system, or have better cleaning technologies, or better room treatments, or cleaner electricity, maybe all the Little Queen pressings do it now. They might all do something they never did before, and in fact they should be doing things better now.

Our last shootout was a while back; many, many parts of the chain have undergone improvement. During this shootout we heard things in the recording we never heard before. This is the point of all this audio fooling around. It pays off, if you do it right. You have musical information waiting to be unlocked in your favorite recordings. It isn’t going to free itself. You have to do the work to set it free. Do it our way or do it some other way, but do it. You, more than anyone else, will be the one to get the benefit.

What We’re Listening For On Little Queen

• Energy for starters. What could be more important than the life of the music?
• Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
• The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

Track Commentary

The Tracklist tab above will take you to a select song breakdown for each side, with plenty of What to Listen For advice.

Other records with track breakdowns can be found here.

Side One

Barracuda

One of the little tricks I used toward the end of my marathon Little Queen tweaking session from a few years back (which lasted more than six hours one Saturday evening, leaving me euphoric but exhausted) was to listen to the ending of Barracuda. Some of the big guitar chords at the end of the song are louder than others, and the more the differences in level among them can be heard, the better the stereo and the room must be doing.

You can’t make the guitarist play some of the notes at the end louder than others, you can only reveal the fact that he indeed must have. This is what is meant by FIDELITY, the higher the better.

Love Alive

This is as good as it gets for Heart. They really rock on this track –the sound of the drums and the guitars are perfection! This may sound heretical, but I would put Love Alive right up there with some of my favorite Led Zeppelin tunes. It ROCKS. The band is on fire; give them their due. The rhythm section on the early Heart albums is Top Notch and then some. Maybe not Bonham and Jones Quality but pretty darn good in their own right.

The beginning section has so many subtle details (such as the autoharp and tabla) that simply disappear on a run-of-the-mill system. On the best copies the autoharp sounds rich and chimey and the tabla has a fair amount of low end extension. All this gets lost in the sauce if you’re listening to an average copy, or an average stereo.

Sylvan Song
Dream of the Archer
Kick it Out

Side Two

Little Queen
Treat Me Well
Say Hello
Cry to Me
Go On Cry

AMG  Review

After acquiring a substantial following with Dreamboat Annie, Heart solidified its niche in the hard rock and arena rock worlds with the equally impressive Little Queen. Once again, loud-and-proud, Led Zeppelin-influenced hard rock was the thing that brought Heart the most attention.

But while ‘Barracuda’ and ‘Kick It Out’ are the type of sweaty rockers one thought of first when Heart’s name was mentioned, hard rock by no means dominates this album. In fact, much of Little Queen consists of such folk-influenced, acoustic-oriented fare as ‘Treat Me Well’ and ‘Cry to Me.’

Anyone doubting just how much Heart’s ballads have changed over the years need only play ‘Dream of the Archer’ next to a high-volume power ballad like ‘Waiting for an Answer’ from 1990’s Brigade.